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    The Interstitial Arts Foundation is a not-for-profit organization dedicated to the study, support, and promotion of interstitial art: literature, music, visual and performance art found in between categories and genres – art that crosses borders. Find out more!

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    Thanks to 277 generous backers for our Interfictions Indiegogo Campaign, we raised $10,318 by the time our campaign ended at midnight, July 14th, 2014.  When we launched on June 3rd, we were staggered to find donations doubling almost daily, until after about 3 weeks we had reached our original target goal of $8,500, and were able to move on to our Stretch Goal of $10,000.

    Which means we not only get to publish Interfictions Online for another year, but we can pay our contributors at higher rates now, rates more in line with the effort and talent that innovation requires. Thank you, each and every one of the 277 generous donors who stepped forward to say that interstitial art is valued and valuable. The number of people is as important as the number of dollars raised. We are awed by your generosity.
    Now [...]

    INTERFICTIONS issue #3 is up online!

    The editors of Interfictions Online are happy to announce the birth of the journal’s latest issue, on May 22, 2014!

    The Spring 2014 issue’s non-fiction offerings include Mark Craddock’s poignant collage in Aerial Acrobatics and Gender Reassignment Surgery – A How-To Guide, while Inda Lauryn’s Parallels and Transitions splices analysis of contemporary female vocalists into a graduate school memoir. Isabel Yap’s Life Is Not a Shoujo Manga speaks for itself. And in an interview with Jeff VanderMeer and Jeremy Zerfoss, the two creators discuss their illustrated guide to writing, Wonderbook.

    The fiction offerings remix tropes from ghosts to automata, with new work by Richard Butner, Su-Yee Lin, Kat Howard, Tade Thompson and S. Craig Renfroe Jr.

    Several of the poems in this issue reimagine older narratives: Sridala Swami’s AI Winter draws on the Mahabharata, Sonya Taaffe’s Double Business on Hamlet, and Mary Alexandra Agner’s Hypothesis Between Your Ribs on the brief life of Charles Darwin’s daughter.


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  • Meet the IAF: Delia Sherman.
    by Geoffrey | March 5th, 2010 |
    Delia Sherman

    As a part of our Interstitial March project, we’re doing profiles of a number of people behind the scenes here at the IAF. I volunteered to go first, and next up is IAF Executive Board member and co-editor of both Interfictions and Interfictions 2, the lovely Delia Sherman!

    1. Who are you, and what do you do?

    I am Delia Sherman, and the IAF began in my living room, 7 years ago. I am a writer of novels and short stories for adults and what the industry is pleased to call “younger readers,” a sometimes editor, and a teacher of fiction writing. In support of one or another of these professions, I speak at schools and libraries, I teach writing workshops, I write interviews and introductions, acceptance and rejection letters, the occasional blog post, and as much fiction as all this other stuff leaves me time for.

    2. What first attracted you to the interstitial arts?

    For a while now, I have found myself gravitating more and more towards art that challenges my expectations. I quite like not knowing exactly what kind of experience I’m in for when I sit down at a performance or pick up a book or walk into an exhibition. And many of the artists I like best, both as artists and as people, seem to make this kind of art. So it was just logical to get together with some like-minded souls and cook up an organization that would encourage and support them in their interstitiality.

    3. How do you consider your work interstitial?

    For the most part, I don’t. I write rather traditional stories drawing on history and folklore. When I wrote my second novel (published as historical fiction by a general fiction house), the combination of fairytale and real-life history was unusual enough so that mainstream reviewers were put off by the fantastic elements, while the genre reviewers tended to think I’d overdone the realism. But over the 19 years since The Porcelain Dove was published, fantastical-historical-tragical-comical-magical-realist novels have become, if not commonplace, at least recognizable on both sides of the genre divide.

    While none of my subsequent work has been quite so far out on the genre borders as The Porcelain Dove, anything I write has the potential to head out there at any time. I continue to think that it’s the work that’s interstitial, not necessarily the artist. Although people like Laurie Anderson and Rinde Eckert and maybe Jonathan Lethem, who slide among genres like eels, come pretty darn close.

    finish line

    2 Responses to “Meet the IAF: Delia Sherman.”

    1. Deborah Atherton Says:

      You raise an interesting side point – if things are more accepted, do they cease being interstitial? I have a particular fondness for fantastical-historical-tragical-comical-magical-realist novels, but, as you say, they haven’t quite created that section in Barnes and Noble’s yet – but when they do, does it then become a genre? Your post gave me a funny image of being chased by genre, a beast with a large maw and an appetite for subduing artists. I guess our job is to stay ahead of it!

    2. Meet the IAF: Mike Allen ¦ The Interstitial Arts Foundation Says:

      [...] (Ed.: Continuing our series of profiles of IAF people, Mike Allen is a member of the IAF Working Group. Previous profiles in this series have included Christopher Barzak, Larissa N. Niec, Stephen H. Segal, Felice Kuan, Wendy Ellertson, Deborah Atherton, Erin Underwood, Ellen Kushner, Delia Sherman and Geoffrey Long.) [...]

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